*Edit*
Köp Miroir Noir här.
Hoppas ni alla hade en underbar jul. Själv firade jag den bl.a. tillsammans med Lenin. Kan inte förmå mig att dela med mig av den dock tyvärr då ju intäkterna från plattan går till välgörenhet. Väldigt 'catchy' låt men det var nog bra att de inte tog med den på Funeral.
Var försiktiga med raketerna på onsdag!
Monday, December 29, 2008
Wednesday, December 24, 2008
God jul önskar Arcade Fire (& joel)
Burning Bridges i mycket bättre kvalité (320 kbps) än den där usla mp3-rippen från BBC. Ät ihjäl er, banta kan man alltid göra nästa år!
Sunday, December 21, 2008
Abstinensbesvär!
Hur ska jag uthärda över ett år till utan dem på vägarna?
Sådan fruktansvärd abstinens!
Saturday, December 20, 2008
Win, Régine & Owen gör musiken till 'The Box'!!
Inte så mycket och orda om. Läs istället bara den här intervjun med Win Butler (WB), gjord av Pitchfork.
Arcade Fire's Butler Talks Miroir Noir, The Box Score
"It's been super healthy for us to just stay at home, tend our gardens, and actually have a real life."
Pitchfork: Miroir Noir isn't a typical concert film. It doesn't capture a complete show or contain any sort of narrative, instead stringing together bits and pieces of performance and behind-the-scenes footage with all kinds of arty miscellany. Why did you choose to create the film this way?
Win Butler: I always find live shows on film kind of boring. Even my favorite ones, I kinda zone out for most of it. It's just so different seeing a band in the flesh and then watching a film of it, even if you have a hundred cameras and it's shot from every angle. There's just a communal, visceral thing that never translates very well. We were just trying to pick some bits of the live show. [Directors] Vincent Moon and Vincent Morisset were the only people really filming, so a lot of it was one-camera shoots, so the bits that were the most interesting are the ones we used.
Pitchfork: There are very few full songs in the film. Was that just the way the footage turned out?
WB: Not necessarily. That just wasn't what we were going for with the film. We were more into trying to capture a little bit of the energy. I find that if there are too many full performances, it doesn't really do that good a job of capturing the energy of the show.
Pitchfork: The film certainly captures that energy, but it can be frustrating when a song starts or stops in the middle.
WB: I know what you're saying. It just really wasn't what we were going for. I think, sometimes, it's better to be a little frustrated than to be bored.
Pitchfork: Miroir Noir features a lot of footage of the recording sessions for Neon Bible. Why did you include that in the film?
WB: There's a lot of home movies from when we were making the record. The parts, like, in the Rolling Stone documentaries, the only parts that I really like are the parts where you see a microphone in the background, and you're like "Ooh, that's where the microphone was." I'm kind of a nerd in that way, I guess. Those are the only moments I ever really find exciting.
Pitchfork: There are also quite a few voice-overs throughout the film-- these are voicemails left by people who called the Neon Bible promotional hotline 1-800-NEONBIBLE, right?
WB: Yeah. There were thousands and thousands of them. We checked the phone bill about six months in. It was pretty staggering, the amount we were paying.
Pitchfork: What are the extras on the deluxe edition of the Miroir Noir DVD? The press release mentioned that the DVD would include your "Friday Night With Jonathon Ross" and "Saturday Night Live" performances.
WB: Yeah. There's a BBC in-studio thing that we did with a bunch of full versions of songs that we shot at Maida Vale studio. The BBC always does a really good job, there's actual audio engineers. They actually really know what they're doing on the sound front. There's also this kind of infomercial thing that one of my good friends, Josh, made for us, that's pretty funny. It's kind of a video form of the 800 number. There's a longer clip of when [Arcade Fire multi-instrumentalists] Tim [Kingsbury] and and Richie [Reed Parry] went to "The Price Is Right". Our manager deserves a lot of credit for clearing that one. It blew my mind that he could actually get it cleared.
Pitchfork: So what's next for the Arcade Fire? We've heard you're working on a new album.
WB: Basically, the last five years have been pretty insane for the band. When we were recording [2004 debut album] Funeral, we didn't have a record deal or anything. We just kinda went in to make a 7" at the beginning. We recorded "Wake Up" and "Power Out" and the rest of it, we would kind of raise a bit of money and record. We never had a rehearsal schedule or anything, people would just come over to me and [Butler's wife and Arcade Fire co-founder] Régine's [Chassagne] house and we'd play in small groups and work on arrangements. I think our goal this year was to take enough time off that we would actually start playing together again because we were really dying to play together again. It's been pretty cool, the past couple months, the guys have been coming over to me and Régine's place. We have instruments in the living room, and we're just playing. It's a really exciting time. The first time you play a song is kind of the best part of the whole experience. It feels like a really natural process is happening.
I'm really relieved, because you get off the road after five years, and you're like, "Man, I don't want to play music anymore." But it's been really rewarding over the last couple months to not have to be like, "OK guys, we're gonna make a record, it's gonna take six months, we're recording in this studio." It's like, "We have no idea what we're doing, but I feel like playing with you this afternoon, so how about we have some tea and play songs for a little bit." I mean, I don't think any of us to spend three years making a record. But after the whole wild ride the last five years, I think it's been super healthy for us to just stay at home, tend our gardens, and actually have a real life. You can feel that in the music now. And fucking hell, what a crazy time to be living in. I think we're all really excited.
Pitchfork: Speaking of which, do you have any plans to perform at any Obama inauguration festivities?
WB: I don't know. There have been a couple emails going back and forth; I don't know if we have too many curse words in our lyrics or something. I'm not sure what's happening with it. We would obviously be totally stoked to play, but I'm sure there are a lot of political considerations. We were in Haiti about a month ago, Régine and I, which was a really mind-blowing experience. It was a couple days after the election. We were in Chicago for election night, and let me tell you, in rural Haiti, they were just as excited as in downtown Chicago.
Pitchfork: You contributed a song, "When Lenin Was Little", to the the forthcoming Red Hot benefit compilation Dark Was the Night. Is that a new song?
WB: No, that's actually the one song that didn't make it on Funeral that was recorded at that time, but it didn't really fit in with the rest of the songs.
Pitchfork: Are you working on anything else, besides the very beginnings of a new album?
WB: Not really. We finished that movie music, I'm not sure when the film's coming out, the Richard Kelly film, which was interesting.
Pitchfork: Wait a second! You did end up contributing music to The Box!?
WB: Yeah. So that will be out at some point.
Pitchfork: Did you write the entire score?
WB: Yes, me, Régine, and Owen [Pallett] from Final Fantasy. It's kind of Hitchcocky, movie, orchestral, Mellotron stuff. It's instrumental music. No songs. It's interesting. We didn't really think we were going to do the whole thing, and then it just kind of was easier once we got in. It was like, "Oh well, we'll just keep going." It has so much to do with the editing, and your job is just to help the director. It's a very different experience.
Pitchfork: What attracted you to this project?
WB: I could really imagine what he wanted for the music. It's based on a "Twilight Zone" episode set in the 70s. The guy works at NASA. It's got this kind of sci-fi, kind of Alfred Hitchcock feel. Those Hitchcock scores are some of my favorite movie music. We have a Mellotron, and since it's the 70s, it really seemed to fit. It was just really easy to imagine the type of music that would help the movie. It was a very ego-less project. The goal was to kind of bang some music out and not be, like, slitting our wrists over if the tambourine is too loud. That was a good experiment.
Pitchfork: "My Body Is a Cage" was recently featured in a commercial for the new movie The Curious Case of Benjamin Button. Why did you agree to license the song for that?
WB: It was one of the fist things that's come down the pipe where... it didn't even really have that much to do with the movie, but just the trailer was very appropriate. Usually, people send us stuff, and if the song wasn't in there, it wouldn't really matter that much. It could really be anything. For this one, it makes sense. It's about a guy trapped in a wrong body...It was artistically done and it worked with the theme of the song. It wasn't a big deal. Everyone was like, "Yeah, it looks good." Most of the time, you get sent some commercial for something and it's just like, "Insert band here." It's not that interesting.
Pitchfork: Do you have anything else going on that you'd like people to know about?
WB: In the very short term, I have to go to the police department because someone broke into my car last night, smashed out the back window, and stole my iPod.
Pitchfork: Oh no! That sucks! I hope they catch the person!
Arcade Fire's Butler Talks Miroir Noir, The Box Score
"It's been super healthy for us to just stay at home, tend our gardens, and actually have a real life."
Pitchfork: Miroir Noir isn't a typical concert film. It doesn't capture a complete show or contain any sort of narrative, instead stringing together bits and pieces of performance and behind-the-scenes footage with all kinds of arty miscellany. Why did you choose to create the film this way?
Win Butler: I always find live shows on film kind of boring. Even my favorite ones, I kinda zone out for most of it. It's just so different seeing a band in the flesh and then watching a film of it, even if you have a hundred cameras and it's shot from every angle. There's just a communal, visceral thing that never translates very well. We were just trying to pick some bits of the live show. [Directors] Vincent Moon and Vincent Morisset were the only people really filming, so a lot of it was one-camera shoots, so the bits that were the most interesting are the ones we used.
Pitchfork: There are very few full songs in the film. Was that just the way the footage turned out?
WB: Not necessarily. That just wasn't what we were going for with the film. We were more into trying to capture a little bit of the energy. I find that if there are too many full performances, it doesn't really do that good a job of capturing the energy of the show.
Pitchfork: The film certainly captures that energy, but it can be frustrating when a song starts or stops in the middle.
WB: I know what you're saying. It just really wasn't what we were going for. I think, sometimes, it's better to be a little frustrated than to be bored.
Pitchfork: Miroir Noir features a lot of footage of the recording sessions for Neon Bible. Why did you include that in the film?
WB: There's a lot of home movies from when we were making the record. The parts, like, in the Rolling Stone documentaries, the only parts that I really like are the parts where you see a microphone in the background, and you're like "Ooh, that's where the microphone was." I'm kind of a nerd in that way, I guess. Those are the only moments I ever really find exciting.
Pitchfork: There are also quite a few voice-overs throughout the film-- these are voicemails left by people who called the Neon Bible promotional hotline 1-800-NEONBIBLE, right?
WB: Yeah. There were thousands and thousands of them. We checked the phone bill about six months in. It was pretty staggering, the amount we were paying.
Pitchfork: What are the extras on the deluxe edition of the Miroir Noir DVD? The press release mentioned that the DVD would include your "Friday Night With Jonathon Ross" and "Saturday Night Live" performances.
WB: Yeah. There's a BBC in-studio thing that we did with a bunch of full versions of songs that we shot at Maida Vale studio. The BBC always does a really good job, there's actual audio engineers. They actually really know what they're doing on the sound front. There's also this kind of infomercial thing that one of my good friends, Josh, made for us, that's pretty funny. It's kind of a video form of the 800 number. There's a longer clip of when [Arcade Fire multi-instrumentalists] Tim [Kingsbury] and and Richie [Reed Parry] went to "The Price Is Right". Our manager deserves a lot of credit for clearing that one. It blew my mind that he could actually get it cleared.
Pitchfork: So what's next for the Arcade Fire? We've heard you're working on a new album.
WB: Basically, the last five years have been pretty insane for the band. When we were recording [2004 debut album] Funeral, we didn't have a record deal or anything. We just kinda went in to make a 7" at the beginning. We recorded "Wake Up" and "Power Out" and the rest of it, we would kind of raise a bit of money and record. We never had a rehearsal schedule or anything, people would just come over to me and [Butler's wife and Arcade Fire co-founder] Régine's [Chassagne] house and we'd play in small groups and work on arrangements. I think our goal this year was to take enough time off that we would actually start playing together again because we were really dying to play together again. It's been pretty cool, the past couple months, the guys have been coming over to me and Régine's place. We have instruments in the living room, and we're just playing. It's a really exciting time. The first time you play a song is kind of the best part of the whole experience. It feels like a really natural process is happening.
I'm really relieved, because you get off the road after five years, and you're like, "Man, I don't want to play music anymore." But it's been really rewarding over the last couple months to not have to be like, "OK guys, we're gonna make a record, it's gonna take six months, we're recording in this studio." It's like, "We have no idea what we're doing, but I feel like playing with you this afternoon, so how about we have some tea and play songs for a little bit." I mean, I don't think any of us to spend three years making a record. But after the whole wild ride the last five years, I think it's been super healthy for us to just stay at home, tend our gardens, and actually have a real life. You can feel that in the music now. And fucking hell, what a crazy time to be living in. I think we're all really excited.
Pitchfork: Speaking of which, do you have any plans to perform at any Obama inauguration festivities?
WB: I don't know. There have been a couple emails going back and forth; I don't know if we have too many curse words in our lyrics or something. I'm not sure what's happening with it. We would obviously be totally stoked to play, but I'm sure there are a lot of political considerations. We were in Haiti about a month ago, Régine and I, which was a really mind-blowing experience. It was a couple days after the election. We were in Chicago for election night, and let me tell you, in rural Haiti, they were just as excited as in downtown Chicago.
Pitchfork: You contributed a song, "When Lenin Was Little", to the the forthcoming Red Hot benefit compilation Dark Was the Night. Is that a new song?
WB: No, that's actually the one song that didn't make it on Funeral that was recorded at that time, but it didn't really fit in with the rest of the songs.
Pitchfork: Are you working on anything else, besides the very beginnings of a new album?
WB: Not really. We finished that movie music, I'm not sure when the film's coming out, the Richard Kelly film, which was interesting.
Pitchfork: Wait a second! You did end up contributing music to The Box!?
WB: Yeah. So that will be out at some point.
Pitchfork: Did you write the entire score?
WB: Yes, me, Régine, and Owen [Pallett] from Final Fantasy. It's kind of Hitchcocky, movie, orchestral, Mellotron stuff. It's instrumental music. No songs. It's interesting. We didn't really think we were going to do the whole thing, and then it just kind of was easier once we got in. It was like, "Oh well, we'll just keep going." It has so much to do with the editing, and your job is just to help the director. It's a very different experience.
Pitchfork: What attracted you to this project?
WB: I could really imagine what he wanted for the music. It's based on a "Twilight Zone" episode set in the 70s. The guy works at NASA. It's got this kind of sci-fi, kind of Alfred Hitchcock feel. Those Hitchcock scores are some of my favorite movie music. We have a Mellotron, and since it's the 70s, it really seemed to fit. It was just really easy to imagine the type of music that would help the movie. It was a very ego-less project. The goal was to kind of bang some music out and not be, like, slitting our wrists over if the tambourine is too loud. That was a good experiment.
Pitchfork: "My Body Is a Cage" was recently featured in a commercial for the new movie The Curious Case of Benjamin Button. Why did you agree to license the song for that?
WB: It was one of the fist things that's come down the pipe where... it didn't even really have that much to do with the movie, but just the trailer was very appropriate. Usually, people send us stuff, and if the song wasn't in there, it wouldn't really matter that much. It could really be anything. For this one, it makes sense. It's about a guy trapped in a wrong body...It was artistically done and it worked with the theme of the song. It wasn't a big deal. Everyone was like, "Yeah, it looks good." Most of the time, you get sent some commercial for something and it's just like, "Insert band here." It's not that interesting.
Pitchfork: Do you have anything else going on that you'd like people to know about?
WB: In the very short term, I have to go to the police department because someone broke into my car last night, smashed out the back window, and stole my iPod.
Pitchfork: Oh no! That sucks! I hope they catch the person!
Friday, December 19, 2008
Burning Bridges
Burning Bridges, som ni kan tanka i föregående inlägg, finns med på Miroir Noir-DVDn på något sätt och gavs tills BBC för att inkluderas i artikeln. Skulle tippa att den används som bakgrundsmusik i menyerna eller något i den stilen. Merge har för övrigt konfirmerat att Miroir Noir kommer skickas ut under Mars månad. Den ska senast finnas i din brevlåda den 31:a mars.
Thursday, December 18, 2008
Win berättar om Miroir Noir
Win berättar idag för BBC Newsbeat om Miroir Noir och bjuder även på en instrumental låt som heter Burning Bridges. En instrumental låt som bygger på den underbara Burning Bridges, Breaking Hearts.
Här följer reportaget.
Här följer reportaget.
Arcade Fire turn home movies into film
Arcade Fire have been speaking about their debut movie Miroir Noir.
The DVD is the first time the secretive group have released extended video footage.
Miroir Noir, shot over a two year period, is the joint project of the Canadian band, director Vincent Morisset and cameraman Vincent Moon.
The film includes footage of Win Butler and co working on their second record Neon Bible, home videos and intimate live clips collected during 2006 and 2007.
Home videos
"Our goal was to capture the show a little bit, recording stuff and then to capture the excitement of the band live," lead singer Win Butler told Newsbeat. "A lot of it is like home movies which we shot while we were making the record [Neon Bible]."
The 70 minute documentary is deliberately shot in a low budget style - including camcorder footage of their church studio, backstage rituals and visits to the beach.
"For us it made a lot more sense to have one or two cameras and to it more punk style than have a giant camera crew," explained Win. "I always find live DVDs kind of boring.
"The problem with a lot of live band DVDs is that there's something very different to being in the audience and watching a video of being in an audience."
Notoriously private
The group are notoriously private. With that in mind they chose close friends to produce their first video output.
"Vincent Morisset [director] is one of Regine's really close friends from college in Montreal.
"Vincent Moon was actually at our first Paris show out front with a sign with his girlfriend saying 'Please we need tickets we need to get in', and Regine let him into the show.
"We've known those guys for a long time so it was easy to tune out and forget that there was anyone there."
Importantly Miroir Noir retains the band's cloak of mystery but does also display some previously masked sides to the group.
"There's a lot of humour in the film which probably isn't necessarily what people think when they think about our band," Win said."The joking around-ness is captured in a few places."
Meanwhile, the majority of the documentary features clips of the band's live show captured by Moon.
"There's a shot during Black Waves where Vincent Moon comes on stage and you see Jeremy drumming up close," explained Win. "There are a few points that have this visceral connection to the live shows that I'm really pleased with.
"If you saw us at a festival or somewhere from far back I don't know if you'd necessarily see the effort that's going into it."
Somewhat oddly the movie opens with a scene where the band are systematically put to sleep.
Win: "We wanted to see what it'd be like to try and hypnotise the whole band and play music while we were hypnotised.
"But apparently it's hard to hypnotise a bunch of jokers in a room when the hypnotist doesn't speak English as his first language."
The film principally captures the group's movements between 2006-2007 - the conclusion of the Neon Bible sessions and the unrelenting schedule of touring which followed.
"Right out of the gate it was so intense," recalled Win. "16 hours a day working like maniacs we went straight out and did 16 shows in two and a half weeks.
"It was a weird thing where the first half of the whole [touring] process was this trial of will where I was literally so sick I couldn't play.
"It felt like the second half we really kind of found our stride and started to figure some things out. It wasn't such a climbing Mount Everest type of experience."
Director's view
"The project was more about spontaneity and just capturing what was happening," explained Vincent Morisset. "It was not about touring and the life of a band on tour."
And his close relationship with the band meant he could, along with Takeaway show creator Vincent Moon, harbour some uncensored footage.
"I was part of the family - I know already their limits and where I could go," he said.
"We respected this space of privacy. This project was not about destructing a myth or saying, 'Hey these people are just really normal, eating their cereals in the morning'."
The band also revealed they've began working on material for their third album, demoing songs in Win's house and their church studio.
Wednesday, December 17, 2008
Vilken låt!
Helt förälskad i låten som startar i samband med att eftertexterna börjar rulla. Kan inte sluta lyssna på den! Vevar den gång på gång.... på gång.
Vacker är bara förnamnet.
Vacker är bara förnamnet.
Tuesday, December 16, 2008
Köp, tanka och se filmen nu!
Alltså Arcade Fire, det här är så sjukt bra så jag vet inte vart jag ska ta vägen. Väntar väl ett tag till med att säga något om vad som försiggår för er som inte sett den än, men tanka hem mästerverket nuuu!Om ni har problem med att komma in på beställningssidan, testa den här länken. Den bör funka.
Jag har sagt det ett par gånger förr men det är värt att repetera idag:
Bästa. Bandet. Någonsin.
07:03 - Jag älskar Arcade Fire!
Att se denna FILMEN fick många känslor att välla upp inom mig. För det är verkligen en film med dem och deras underbara musik som huvudpersoner. Inte en vanlig live-dvd. Inget annat band får mig att känna på det här sättet, så enkelt är det. Tack Arcade Fire!
Mycket mer om detta på alla tänkbara plan senare såklart.
Mycket mer om detta på alla tänkbara plan senare såklart.
Monday, December 15, 2008
23:37 - No Miroir Noir Go?
Måste vara något tekniskt krångel.
Vore ju tacksamt om någon kunde säga något!
tick tack...
Vore ju tacksamt om någon kunde säga något!
tick tack...
20:32 - Seriöst, kom igen nu!!
Aaah, blir galen på den här ovissa väntan. Det jobbas dock i alla fall bakom kuliserna har man sett. Under korta perioder har diverse olika saker legat uppe. Inte mycket man kan göra mer än att fortsätta vänta...
tick tack...
tick tack...
12:24 - vakna, Vincent!
Kom igen nu, Vincent! Du glömde väl inte att ställa väckarklockan?
tick tack...
tick tack...
08:23 - tick tack... tick tack...
Vincent Morisset, jag hade inte planerat att se Dexter innan Miroir Noir...
tick, tack...
F5
tick, tack...
tick, tack...
F5
tick, tack...
Saturday, December 13, 2008
Miroir Noir - notis
En kort notis bara.
Ska enligt uppgift vara på det sättet att om man förbeställer DVDn så får man även en gratis nedladdning.
Kanon!
Ska enligt uppgift vara på det sättet att om man förbeställer DVDn så får man även en gratis nedladdning.
Kanon!
Friday, December 12, 2008
Officiell pressrelease
ARCADE FIRE RELEASE FILM MIROIR NOIR
Available Digitally Monday December 15th at www.Miroir-Noir.com
DVD Formats Available for 2009 Delivery
Arcade Fire will release the documentary film Miroir Noir online this Monday, December 15th.
The film follows Arcade Fire through the making and touring of their 2007 album Neon Bible, documenting the band at their Montreal studio, the making of promotional films and videos, along with live footage and a few short films made on the road.
Miroir Noir is directed by Arcade Fire friend and collaborator Vincent Morisset. Vincent was responsible for the interactive video for the song "Neon Bible" and for the Arcade Fire web design. The film was shot by Vincent Moon.
The digital download and standard edition DVD feature the 70 minute film Miroir Noir. The deluxe edition DVD contains bonus material including Arcade Fire's live performances on Jonathon Ross, Saturday Night Live and at Maida Vale.
The 70 minute film will be available globally at www.Miroir-Noir.com on December 15th as a one-off download in two sizes to suit preferred players. The physical standard and deluxe DVDs are planned for 2009 delivery (with digital versions delivered instantly).
Available Digitally Monday December 15th at www.Miroir-Noir.com
DVD Formats Available for 2009 Delivery
Arcade Fire will release the documentary film Miroir Noir online this Monday, December 15th.
The film follows Arcade Fire through the making and touring of their 2007 album Neon Bible, documenting the band at their Montreal studio, the making of promotional films and videos, along with live footage and a few short films made on the road.
Miroir Noir is directed by Arcade Fire friend and collaborator Vincent Morisset. Vincent was responsible for the interactive video for the song "Neon Bible" and for the Arcade Fire web design. The film was shot by Vincent Moon.
The digital download and standard edition DVD feature the 70 minute film Miroir Noir. The deluxe edition DVD contains bonus material including Arcade Fire's live performances on Jonathon Ross, Saturday Night Live and at Maida Vale.
The 70 minute film will be available globally at www.Miroir-Noir.com on December 15th as a one-off download in two sizes to suit preferred players. The physical standard and deluxe DVDs are planned for 2009 delivery (with digital versions delivered instantly).
15 december! Miroir Noir!
Den 15:e december smäller det! Wooohooo! NME skriver följande:Arcade Fire to release 'Miroir Noir' documentary on Monday (Dec 15)
Fans will be able to watch the 70-minute film online
Arcade Fire will release their new 70-minute documentary, 'Miroir Noir', on Monday (December 15).
The film documents the band through the making of their 2007 album 'Neon Bible' and subsequent tours. It also includes short films made on the road by the band.
The documentary is directed by Arcade Fire and Vincent Morisset, who was also responsible for the interactive video for 'Neon Bible'.
The deluxe edition DVD of 'Miroir Noir' features bonus material including Arcade Fire performances on TV shows such as Friday Night With Jonathan Ross and Saturday Night Live.
Both the digital and deluxe versions of the documentary will be available to order from Miroir-noir.com on December 15 (with the digital version delivered instantly).
Ryktas om att det är Burlesque som designat omslaget m.m. - ALLT kring detta är fantastiskt! Sällan har jag längtat efter en måndag som denna.
Ännu en gång, http://www.miroir-noir.com, sign up människor!
Thursday, December 11, 2008
Arcade Fire - Miroir Noir - Neon Bible Archives
http://www.miroir-noir.com, sign up människor!
OH YEAH!!
Jag är helt hyper här. Bästa nyheten på evigheters evigheter!
En film av något slag om Arcade Fire regisserad av Vincent Morisset och filmad av Vincent Moon. Kommer vad det verkar vara tillgänglig för nedladdning. Grymt.
Mer info senare såklart! Aaah, jag älskar detta band!
Wednesday, December 10, 2008
Arcade Fire uppmuntrar kreativitet
David Finchers kommande storfilm The Curious Case of Benjamin Button fick sig en rejäl promotion-boost när plötsligt en trailer med My Body Is A Cage av Arcade Fire började dyka upp i amerikanska tv-stationers reklampauser. Arcade Fires management har nu uttalat sig om detta.
"This is the first time the band have used their music in this way. David Fincher asked them to look at the trailer. They all thought it was a good use of the music. They have no issue with licensing music when it’s used in a creative way. It rarely happens."Se trailern här.
Sunday, December 07, 2008
Sydkoreanska elever sjunger Rebellion (Lies)
Briljant! Mina smilgropar är stora. Om man ändå själv hade haft sådana här engelskalektioner. Något säger mig att Arcade Fire skulle tycka det här var väldigt kul också.
Thursday, December 04, 2008
Wednesday, December 03, 2008
Bottom Of The Hill
Satt och lyssnade på den här inspelningen och tänkte att det kanske det skulle vara fler som var intresserade av. Så...
FLAC
Arcade Fire - 2004-12-08 San Francisco.zip
http://www.megaupload.com/?d=KKHOO275
MP3
Arcade Fire - 2004-12-08 - Bottom Of The Hill,
San Francisco, CA [2004 MP3 V0(VBR)].zip
http://www.megaupload.com/?d=XR2RL29H
FLAC
Arcade Fire - 2004-12-08 San Francisco.zip
http://www.megaupload.com/?d=KKHOO275
MP3
Arcade Fire - 2004-12-08 - Bottom Of The Hill,
San Francisco, CA [2004 MP3 V0(VBR)].zip
http://www.megaupload.com/?d=XR2RL29H
When Lenin Was Little
I ljuset av de senaste inläggen här tänkte jag bara flika in lite tankar, fakta och spekulationer om vad Lenin kan tänkas vara för något osv.
Sedan länge länge har det funnits en låt som aldrig kommit ut till allmänheten som gått under namnet When Lenin Was Little. Det är ju givetvis ingen högkvalificerad gissning att det är denna låt som nu med ett kortare namn, Lenin, är påväg ut i rampljuset. Kommer ihåg att Owen Pallett (aka Final Fantasy) pratade om hur han jobbade men den här låten i samband med skapandet av Neon Bible och hur han förklarade hur han redan då kände att den behövde släppas fri. Antagligen har Arcade Fire bara väntat på rätt tillfälle sedan dess att göra just det. Nu när det här projektet presenterades för dem kändes det antagligen helt rätt. På den gamla Arcade Fire-sajten fanns texten upplagd trots att låten aldrig släpptes. Grävde upp den.
When Lenin Was Little
When Lenin was little
All the birds in the forest were singin’ “Man, this is it!”
But now that he’s older
All the sailors in the heaver are screamin’ “Abandon Ship!”
I know it can’t be right
I know it can’t be right
But I just smile instead
of repeating what I said
In my head
When Lenin was little
dressed up like a vampire on All-Hallow’s Eve
All the saints up in heaven
Were look down at the leaves fallin’ from the trees
I know it can’t be right…
Daddy, Daddy, please save the world from the government
Daddy, Daddy, please save my sould from my own judgement
Daddy, Daddy, please send me a heart that isn’t made of cement
‘cause the money’s all been spent
the money’s all been spent
Är ju dock lika bra att påpeka på en gång att det här är en väldigt gammal text och har säkerligen förändrats många många gånger sedan dess. Tänk bara på hur Intervention lät i början och hur den slutligen blev på Neon Bible. Som sagt, detta är bara gissningar och spekulationer för att försöka att ge er kanske någon känsla om vad som komma skall. Skulle inte förvåna om det till slut kommer fram att det inte har någonting med When Lenin Was Little att göra alls men tills dess att 4ADs dubbel-cd släpps är detta det som vi har att gå på.
Sedan länge länge har det funnits en låt som aldrig kommit ut till allmänheten som gått under namnet When Lenin Was Little. Det är ju givetvis ingen högkvalificerad gissning att det är denna låt som nu med ett kortare namn, Lenin, är påväg ut i rampljuset. Kommer ihåg att Owen Pallett (aka Final Fantasy) pratade om hur han jobbade men den här låten i samband med skapandet av Neon Bible och hur han förklarade hur han redan då kände att den behövde släppas fri. Antagligen har Arcade Fire bara väntat på rätt tillfälle sedan dess att göra just det. Nu när det här projektet presenterades för dem kändes det antagligen helt rätt. På den gamla Arcade Fire-sajten fanns texten upplagd trots att låten aldrig släpptes. Grävde upp den.
When Lenin Was Little
When Lenin was little
All the birds in the forest were singin’ “Man, this is it!”
But now that he’s older
All the sailors in the heaver are screamin’ “Abandon Ship!”
I know it can’t be right
I know it can’t be right
But I just smile instead
of repeating what I said
In my head
When Lenin was little
dressed up like a vampire on All-Hallow’s Eve
All the saints up in heaven
Were look down at the leaves fallin’ from the trees
I know it can’t be right…
Daddy, Daddy, please save the world from the government
Daddy, Daddy, please save my sould from my own judgement
Daddy, Daddy, please send me a heart that isn’t made of cement
‘cause the money’s all been spent
the money’s all been spent
Är ju dock lika bra att påpeka på en gång att det här är en väldigt gammal text och har säkerligen förändrats många många gånger sedan dess. Tänk bara på hur Intervention lät i början och hur den slutligen blev på Neon Bible. Som sagt, detta är bara gissningar och spekulationer för att försöka att ge er kanske någon känsla om vad som komma skall. Skulle inte förvåna om det till slut kommer fram att det inte har någonting med When Lenin Was Little att göra alls men tills dess att 4ADs dubbel-cd släpps är detta det som vi har att gå på.
Tuesday, December 02, 2008
Lenin
Nya låten som Arcade Fire spelat in för 4ADs samlingsplatta heter Lenin. Så fruktansvärt kul att höra något nytt från dem igen! Se föregående inlägg för mer bakgrund.
Såhär ser den fullständiga låtlistan till Dark Was The Night ut.
CD 1:
1. “Knotty Pine” by Dirty Projectors & David Byrne
2. “Cello Song” by The Books feat. Jose Gonzales
3. “Train Song” by Feist & Ben Gibbard
4. “Brackett, WI” by Bon Iver
5. “Deep Blue Sea” by Grizzly Bear
6. “So Far Around the Bend” by The National
7. “Tightrope” by Yeasayer
8. “Feeling Good” by My Brightest Diamond
9. “Dark Was the Night” by Kronos Quartet
10. “I Was Young When I Left Home” by Antony & Bryce Dessner
11. “Big Red Machine” by Bon Iver & Aaron Dessner
12. “Sleepless” by The Decemberists
13. “Die” by Iron and Wine
14. “Service Bell” by Grizzly Bear & Feist
15. “Blood” by Sufjan Stevens
CD 2:
16. “Well-Alright” by Spoon
17. “Lenin” by Arcade Fire
18. “Mimizan” by Beirut
19. “El Caporal” by My Morning Jacket
20. “Inspiration Information” by Sharon Jones & the Dap-Kings
21. “With A Girl Like You” by Dave Sitek
22. “Blood Pt. 2″ by Buck 65 Remix (feat. Sufjan Stevens and Serengeti)
23. “Hey, Snow White” by The New Pornographers
24. “Gentle Hour” by Yo La Tengo
25. “Another Saturday Night” by Stuart Murdoch
26. “Happiness” by Riceboy Sleeps
27. “Amazing Grace” by Cat Power & Dirty Delta Blues
28. “The Giant of Illinois” by Andrew Bird
29. “Lua” by Conor Oberst & Gillian Welch
30. “When The Road Runs Out” by Blonde Redhead & Devastations
31. “Love vs. Porn” by Kevin Drew
16:e fabruari, aj aj aj vad långt borta du är.
Såhär ser den fullständiga låtlistan till Dark Was The Night ut.
CD 1:
1. “Knotty Pine” by Dirty Projectors & David Byrne
2. “Cello Song” by The Books feat. Jose Gonzales
3. “Train Song” by Feist & Ben Gibbard
4. “Brackett, WI” by Bon Iver
5. “Deep Blue Sea” by Grizzly Bear
6. “So Far Around the Bend” by The National
7. “Tightrope” by Yeasayer
8. “Feeling Good” by My Brightest Diamond
9. “Dark Was the Night” by Kronos Quartet
10. “I Was Young When I Left Home” by Antony & Bryce Dessner
11. “Big Red Machine” by Bon Iver & Aaron Dessner
12. “Sleepless” by The Decemberists
13. “Die” by Iron and Wine
14. “Service Bell” by Grizzly Bear & Feist
15. “Blood” by Sufjan Stevens
CD 2:
16. “Well-Alright” by Spoon
17. “Lenin” by Arcade Fire
18. “Mimizan” by Beirut
19. “El Caporal” by My Morning Jacket
20. “Inspiration Information” by Sharon Jones & the Dap-Kings
21. “With A Girl Like You” by Dave Sitek
22. “Blood Pt. 2″ by Buck 65 Remix (feat. Sufjan Stevens and Serengeti)
23. “Hey, Snow White” by The New Pornographers
24. “Gentle Hour” by Yo La Tengo
25. “Another Saturday Night” by Stuart Murdoch
26. “Happiness” by Riceboy Sleeps
27. “Amazing Grace” by Cat Power & Dirty Delta Blues
28. “The Giant of Illinois” by Andrew Bird
29. “Lua” by Conor Oberst & Gillian Welch
30. “When The Road Runs Out” by Blonde Redhead & Devastations
31. “Love vs. Porn” by Kevin Drew
16:e fabruari, aj aj aj vad långt borta du är.
Ny låt från Arcade Fire!!!
Weeehooo! En helt ny låt från Arcade Fire kommer ut den 16:e februari. Det är 4AD som fått ihop en helt sanslös radda av bra artister och band att ställa upp på att medverka på en dubbel-cd de döpt till Dark Was The Night. Detta för att stödja The Red Hot Organization - som kämpar för att öka medvetenheten om HIV och AIDS.
On the occasion of World AIDS Day today (1st December), we are very pleased to announce the official release date, complete list of participating artists and cover art for the upcoming 4AD release, Dark Was The Night.
Dark Was The Night we can confirm will be released on February 16th (Worldwide) and 17th (North America) 2009. Aaron and Bryce Dessner of The National produced the album, with John Carlin (founder of the Red Hot Organization) its executive producer. A total of thirty-two exclusive tracks have been recorded for the compilation, which will be available as a double cd, triple vinyl and download album, with profits benefitting the Red Hot Organization - an international charity dedicated to raising funds and awareness for HIV and AIDS.
Red Hot was founded on the premise that even without a cure, AIDS remains a preventable disease - using music as a great vehicle to raise both money and awareness for it. This is also the twentieth year of Red Hot as well as their twentieth compilation.
The complete list of artists (in alphabetical order) that recorded tracks for this release are:
Andrew Bird
Antony + Bryce Dessner
Arcade Fire
Beach House
Beirut
Blonde Redhead + Devastations
Bon Iver
Bon Iver & Aaron Dessner
The Books featuring Jose Gonzalez
Buck 65 Remix (featuring Sufjan Stevens and Serengeti)
Cat Power and Dirty Delta Blues
The Decemberists
Dirty Projectors + David Byrne
Kevin Drew
Feist + Ben Gibbard
Grizzly Bear
Grizzly Bear + Feist
Iron & Wine
Sharon Jones & The Dap-Kings
Kronos Quartet
Stuart Murdoch
My Brightest Diamond
My Morning Jacket
The National
The New Pornographers
Conor Oberst & Gillian Welch
Riceboy Sleeps
Dave Sitek (TV On The Radio)
Spoon
Sufjan Stevens
Yeasayer
Yo La Tengo
Mer info så fort jag vet mer såklart. Spännande!
On the occasion of World AIDS Day today (1st December), we are very pleased to announce the official release date, complete list of participating artists and cover art for the upcoming 4AD release, Dark Was The Night. Dark Was The Night we can confirm will be released on February 16th (Worldwide) and 17th (North America) 2009. Aaron and Bryce Dessner of The National produced the album, with John Carlin (founder of the Red Hot Organization) its executive producer. A total of thirty-two exclusive tracks have been recorded for the compilation, which will be available as a double cd, triple vinyl and download album, with profits benefitting the Red Hot Organization - an international charity dedicated to raising funds and awareness for HIV and AIDS.
Red Hot was founded on the premise that even without a cure, AIDS remains a preventable disease - using music as a great vehicle to raise both money and awareness for it. This is also the twentieth year of Red Hot as well as their twentieth compilation.
The complete list of artists (in alphabetical order) that recorded tracks for this release are:
Andrew Bird
Antony + Bryce Dessner
Arcade Fire
Beach House
Beirut
Blonde Redhead + Devastations
Bon Iver
Bon Iver & Aaron Dessner
The Books featuring Jose Gonzalez
Buck 65 Remix (featuring Sufjan Stevens and Serengeti)
Cat Power and Dirty Delta Blues
The Decemberists
Dirty Projectors + David Byrne
Kevin Drew
Feist + Ben Gibbard
Grizzly Bear
Grizzly Bear + Feist
Iron & Wine
Sharon Jones & The Dap-Kings
Kronos Quartet
Stuart Murdoch
My Brightest Diamond
My Morning Jacket
The National
The New Pornographers
Conor Oberst & Gillian Welch
Riceboy Sleeps
Dave Sitek (TV On The Radio)
Spoon
Sufjan Stevens
Yeasayer
Yo La Tengo
Mer info så fort jag vet mer såklart. Spännande!
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